Architectural Record (2005 No.06)

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06 2005 $ 9 .7 5

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Light is everything.

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Light is expensive. Despite the fact that most lighting is energyefficient, fluorescent lighting is still the primary source of energy consumption in most buildings. Occupant sensors for energy management

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Robert Ivy, FAIA, [email protected] Beth Broome, [email protected] Anna Egger-Schlesinger, [email protected] Clifford A. Pearson, [email protected] Suzanne Stephens, [email protected] Charles Linn, FAIA, Profession and Industry, [email protected] Sarah Amelar, sarah_ [email protected] Sara Hart, sara_ [email protected] Deborah Snoonian, P.E., [email protected] William Weathersby, Jr., [email protected] Jane F. Kolleeny, [email protected] Rita Catinella Orrell, [email protected] Sam Lubell, [email protected] Kristofer E. Rabasca, [email protected] Clara Huang, [email protected] Juan Ramos, [email protected] Randi Greenberg, [email protected] Susannah Shepherd, [email protected] Laurie Meisel, [email protected] Linda Ransey, [email protected] Monique Miller, [email protected] Leslie Yudell I-Ni Chen Audrey Beaton, Larissa Babij James S. Russell, AIA, [email protected] Raul Barreneche, Robert Campbell, FAIA, Andrea Oppenheimer Dean, David Dillon, Lisa Findley, Blair Kamin, Nancy Levinson, Thomas Mellins, Robert Murray, Sheri Olson, FAIA, Nancy B. Solomon, AIA, Michael Sorkin, Michael Speaks, Ingrid Spencer Naomi R. Pollock, AIA David Cohn, Claire Downey, Tracy Metz James H. McGraw IV, [email protected] Laura Viscusi, [email protected] David Johnson, [email protected] Robert Ivy, FAIA, [email protected] Anna Egger-Schlesinger, [email protected] Maurice Persiani, [email protected] Brian McGann, [email protected] Chris Meyer, [email protected] Susan Valentini, [email protected] Stephen R. Weiss, [email protected] Ike Chong, [email protected] Charles Pinyan, [email protected] Reprint Management Services, [email protected]

EDITORIAL OFFICES: 212/904-2594. Editorial fax: 212/904-4256. E-mail: [email protected]. Two Penn Plaza, New York, N.Y. 101212298. WEB SITE: www.architecturalrecord.com. SUBSCRIBER SERVICE: 877/876-8093 (U.S. only). 609/426-7046 (outside the U.S.). Subscriber fax: 609/426-7087. E-mail: [email protected]. AIA members must contact the AIA for address changes on their subscriptions. 800/242-3837. E-mail: [email protected]. INQUIRIES AND SUBMISSIONS: Letters, Robert Ivy; Practice, Charles Linn; Books, Clifford Pearson; Record Houses and Interiors, Sarah Amelar; Products, Rita Catinella Orrell; Lighting and Interiors, William Weathersby, Jr.; Residential, Jane F. Kolleeny; Web Editorial, Randi Greenberg.

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ARCHITECTURAL RECORD: (ISSN 0003-858X) June 2005. Vol. 193, No. 06. Published monthly by The McGraw-Hill Companies, 1221 Avenue of the Americas, New York, N.Y. 10020. Periodicals postage paid at New York, N.Y. RCSC and additional mailing offices. Canada Post International Publications Mail Product Sales Agreement No. 40012501. Return undeliverable Canadian addresses to: DPGM Ltd., 4960-2 Walker Road, Windsor, ON N9A 6J3. Email: [email protected]. Registered for GST as The McGrawHill Companies. GST No. R123075673. Postmaster: Please send address changes to ARCHITECTURAL RECORD, Fulfillment Manager, P.O. Box 566, Hightstown, N.J. 08520. SUBSCRIPTION: Rates are as follows: U.S. and Possessions $64; Canada and Mexico $79 (payment in U.S. currency, GST included); outside North America $199 (air freight delivery). Single copy price $9.95; for foreign $11. Subscriber Services: 877/876-8093 (U.S. only); 609/426-7046 (outside the U.S.); fax: 609/426-7087. SUBMISSIONS: Every effort will be made to return material submitted for possible publication (if accompanied by stamped, self-addressed envelope), but the editors and the corporation will not be responsible for loss or damage. SUBSCRIPTION LIST USAGE: Advertisers may use our list to mail information to readers. To be excluded from such mailings, send a request to ARCHITECTURAL RECORD, Mailing List Manager, P.O. Box 555, Hightstown, N.J. 08520. OFFICERS OF THE MCGRAW-HILL COMPANIES: Chairman, President and Chief Executive Officer: Harold McGraw III. Executive Vice President and Chief Financial Officer: Robert J. Bahash. Executive Vice President, Human Resources: David L. Murphy. Senior Vice President and General Counsel: Kenneth M. Vittor. Senior Vice President, Corporate Affairs, and Assistant to the President and CEO: Glenn S. Goldberg. Principal Operating Executives: Kathleen A Corbet, President, Standard & Poors; Henry Hirschberg, President, McGraw-Hill Education; Scott C. Marden, President, McGraw-Hill Information and Media Services. MCGRAW-HILL CONSTRUCTION: Norbert W. Young, Jr., FAIA, President. Vice President and CFO: Louis J. Finocchiaro. COPYRIGHT AND REPRINTING: Title ® reg. in U.S. Patent Office. Copyright © 2005 by The McGraw-Hill Companies. All rights reserved. Where necessary, permission is granted by the copyright owner for libraries and others registered with the Copyright Clearance Center (CCC), 222 Rosewood Drive, Danvers, Mass. 01923. To photocopy any article herein for personal or internal reference use only for the base fee of $1.80 per copy of the article plus ten cents per page, send payment to CCC, ISSN 0003-858X. Copying for other than personal use or internal reference is prohibited without prior written permission. Write or fax requests (no telephone requests) to Copyright Permission Desk, ARCHITECTURAL RECORD, Two Penn Plaza, New York, N.Y. 10121-2298; fax 212/904-4256. For reprints call 800/360-5549 X 129 or e-mail [email protected]. Information has been obtained by The McGraw-Hill Companies from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, The McGraw-Hill Companies or ARCHITECTURAL RECORD does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions therein or for the results to be obtained from the use of such information of for any damages resulting there from.

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THE AMERICAN INSTITUTE OF ARCHITECTS 2005 BOARD OF DIRECTORS • OFFICERS: Douglas L Steidl, FAIA, MRAIC, President; Kate Schwennsen, FAIA, First Vice President; Shannon Kraus, AIA, Vice President; Thomas R. Mathison, FAIA, Vice President; RK Stewart, FAIA, Vice President; John C. Senhauser, FAIA, Secretary; James A. Gatsch, FAIA, Treasurer; Ana Guerra, Associate AIA, Associate Representative to the AIA Executive Committee; Saundra Stevens, Hon. AIA, CACE Representative to the AIA Executive Committee; Norman L. Koonce, FAIA, Executive Vice President/CEO. • REGIONAL DIRECTORS: Peter J. Arsenault, AIA, NCARB, LEED AP; Douglas E. Ashe, AIA; Michel C. Ashe, AIA; Ronald J. Battaglia, FAIA; William D. Beyer, FAIA; Michael Broshar, AIA; David J. Brotman, FAIA; Randy Byers, AIA; Tommy Neal Cowan, FAIA; Jacob Day; Jeremy Edmunds, Associate AIA, LEED AP; Glenn H. Fellows, AIA; Robert D. Fincham, AIA; Jonathan L. Fischel, AIA; Marion L. Fowlkes, FAIA; Saul Gonzalez; The Hon. Jeremy Harris, Hon. AIA; John J. Hoffmann, FAIA; William E. Holloway, AIA; Clark Llewellyn, AIA; Marvin J. Malecha, FAIA; Clark D. Manus, FAIA; Linda McCracken-Hunt, AIA; Carl F. Meyer, FAIA; George H. Miller, FAIA; Elizabeth E. Mitchell; Hal P. Munger, AIA; Robin L. Murray, AIA, PP; Celeste A. Novak, AIA, LEED AP; Gordon N. Park, CDS, AIA; David R. Proffitt, AIA; Marshall E. Purnell, FAIA; Miguel A. Rodriguez, AIA; Jerry K. Roller, AIA, NCARB; Jeffrey Rosenblum, AIA; Robert I. Selby, FAIA; Norman Strong, FAIA; Leslie J. Thomas, AIA; J. Benjamin Vargas, AIA; Bryce A. Weigand, FAIA. • AIA MANAGEMENT COUNCIL: Norman L. Koonce, FAIA, Executive Vice President/CEO; James Dinegar, CAE, Chief Operating Officer; Richard J. James, CPA, Chief Financial Officer; Jay A. Stephens, Esq., General Counsel; Helene Combs Dreiling, FAIA, Team Vice President, AIA Community; Ronald A. Faucheux, PhD, Esq., Team Vice President, AIA Government Advocacy; Barbara Sido, CAE, Team Vice President, AIA Knowledge; Elizabeth Stewart, Esq., Team Vice President, AIA Public Advocacy; David Downey, CAE, Assoc. AIA, Managing Director, AIA Communities by Design; Suzanne Harness, AIA, Esq., Managing Director and Counsel, AIA Contract Documents; Richard L. Hayes, Ph.D., RAIC, AIA, CAE, Managing Director, AIA Knowledge Resources; Brenda Henderson, Hon. AIA, Managing Director, AIA Component Relations; Christine M. Klein, Managing Director, AIA Meetings; Carol Madden, Managing Director, AIA Membership Services; Philip D. O’Neal, Managing Director, AIA Technology; C.D. Pangallo, EdD, Managing Director, AIA Continuing Education; Terence J. Poltrack, Managing Director, AIA Communications; Phil Simon, Managing Director, AIA Marketing and Promotion; Laura Viehmyer, SPHR, CEBS, CAE, Chief Human Resources Officer.

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Pyramid Events Center Cal State University, Long Beach, CA Architect: Donald Gibbs, F.A.I.A. Product: Sustainable metal cladding

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It’s the environment—where a building’s ecological impact is as important as its visual impact. Nearly 100 million tons of metal are recycled in the U.S. annually, more than all other materials combined, including glass and paper. In LEED® assessment, metal is a must-have “green” material. A typical metal cladding has at least 25% recycled content and at the end of its long life is 100% recyclable. Being inert, metal has no adverse effect on atmospheric or indoor air quality. Cool metal roofing significantly reduces a building’s long-term energy use. With heatdeflecting metal coatings, HVAC costs can drop 40% or more! Metal also affords maximum design freedom with dramatic shapes, surface textures and colors, so buildings better complement their environments. Visit our web site for more on the green benefits of metal. Plus, information on metal construction products, case histories, photos, news, related links, and more. See where metal really shines at: www.themetalinitiative.com ® LEED is a registered trademark of the U.S. Green Building Council. CIRCLE 6 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

Brownfield of dreams. “Buildings should feel local,” says David Greusel, a principal with HOK Venue in Kansas City. He’s the design architect of PNC Park in Pittsburgh and Minute Maid Park in Houston, two of major league baseball’s most celebrated new venues.

*Solarban 60 and Solarban 80 have Solar Heat Gain Coefficients ranging from 0.24 to 0.38, with Light to Solar Gain (LSG) ratios of 1.84 to 1.96, respectively. IdeaScapes, Solarban, PPG and the PPG logo are trademarks and PPG Certified Fabricator is a service mark owned by PPG Industries, Inc.

Greusel’s directive was recently brought to life in Dubuque, Iowa, where he helped transform an abandoned brownfield site along a Mississippi flood plain into Grand River Center, one of the country’s most spectacular waterside meeting and convention venues. Created from native Iowa limestone and a shimmering cascade of high-performance solar control glass, Grand River Center aligns Greusel’s desire to work with indigenous building materials with his natural instinct to create dwellings that harmonize with the environment. “From the reclamation of the site to the selection of building materials, there was a determined effort to make this building as green as possible,” he says. “But we also wanted to make it a spectacular place to be.” Unconventional Center To achieve these dual objectives, Greusel took a pair of proven PPG products and employed a novel twist. Alternating bands of Solarban ® 60 and Solarban ® 80 glass, the architect fashioned a towering vision wall that bathes the interior of the sprawling complex in natural light while visually anchoring the structure to its historic industrial landscape. According to Greusel, the selection of Solarban Solar Control low-E glass was critical. The glass satisfies his compulsion to practice environmentally sustainable architecture. Yet, the building’s openness and transparency also allow residents of the surrounding community to establish an intimate connection with their newest architectural landmark.* David Greusel is one of thousands of architects nationwide who look to PPG Certified Fabricators to meet their demand for high-performance glass, local fabrication, accelerated construction schedules and rapid replacement glass. To find the name of a PPG Certified Fabricator SM near you, call 800-377-5267 or visit www.ppgcfp.com. Architect: HOK Sport + Venue + Event Glazing Contractor: East Moline Glass Company Glass Fabricator: Oldcastle Glass

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PPG Industries, Inc., Glass Technology Center, Guys Run Road, Pittsburgh, PA 15238-1305 www.ppgideascapes.com

06.2005 On the Cover: Toyo Ito’s Tod’s Omotesando Building. Photograph by Hiro Sakaguchi Right: Krueck & Sexton’s Shure Technology Center. Photo by Steve Hall/Hedrich Blessing

News

Building Types Study 846

25 Freedom Tower to be redesigned

115 Introduction: Health Care by Sarah Amelar

26 SOM’s Oakland Cathedral breaks ground

116 REHAB Basel, Switzerland by Suzanne Stephens*

Departments 17 Editorial: Super-size Me? 19 Letters* 47 Archrecord2: For the emerging architect* 51 Critique: Architecture as symbol by Michael Sorkin 57 Snapshot: Central Methodist Church by Beth Broome 229 Dates & Events* 247 Record House of the Month by Sam Lubell*

Features 62 Reinventing Qingpu by Jen Lin-Liu

Shanghai’s long-ignored suburb is about to experience a renaissance. 72 After Theory by Michael Speaks

In architecture schools, debate rages about the value of theory.

Projects 78 Tod’s Omotesando Building, Japan by Naomi R. Pollock, AIA*

Toyo Ito & Associates, Architects Shoe purveyor strikes a pose on Tokyo’s fashionable boulevard. 86 Shaw Center for the Arts, Louisiana by Sam Lubell*

Schwartz/Silver Architects A dynamic arts complex heralds Baton Rouge’s rejuvenation. 92 Porter Boathouse, Wisconsin by Nancy Levinson*

Vincent James Associates Architects Sleek as a racing shell, new home suits its winning rowing team. 98 Vacheron Constantin Headquarters and Factory, Switzerland by Suzanne Stephens*

Bernard Tschumi Architects (New York) Wrapped in perforated steel, shimmering complex seems to levitate. 106 Shure Technology Center, Illinois by Cheryl Kent*

Krueck & Sexton Architects An addition complements existing building and defines a campus.

Herzog & de Meuron 122 Dalseth Family Dental Clinic, Minnesota by Bette Hammel*

ALTUS Architecture + Design 126 Yawkey Center, Massachusetts by Clifford A. Pearson*

Cambridge Seven Associates For 7 additional Health Care projects, go to Building Types Study at architecturalrecord.com.

Architectural Technology 133 Introduction by Deborah Snoonian, P.E.* 135 How Is LEED Faring After Five Years in Use? by Nancy B. Solomon, AIA*

Competitors are emerging, but the jury’s still out. 144 Spotlight on Systems Research by Ted Smalley Bowen and Peter Criscione*

Four universities strive to make buildings work more efficiently. 150 Zoom In: Experimental Media and Performing Arts Center by Deborah Snoonian, P.E.* 153 Tech Briefs 159 Tech Products

Interiors 185 Introduction by William Weathersby, Jr. 186 New York City Firehouses by William Weathersby, Jr.

Prendergast Laurel Architects 192 Corkin Shopland Gallery by Barbara Dixon

Shim-Sutcliffe Architects 198 Product Design: Architectonic draperies by William Weathersby, Jr.

Mary Bright Studio 203 Interior Products by Rita Catinella Orrell

Products 207 Doors & Windows

232 Reader Service*

215 Product Briefs

224 AIA/CES Self-Report Form*

221 Product Literature

AR is the proud recipient of a National Magazine Award for General Excellence

* You can find these stories at www.architecturalrecord.com, including expanded coverage of Projects, Building Types Studies, and Web-only special features.

06.05 Architectural Record

13

This month in Continuing Education

June 2005

In This Issue: Pages 163 – 182 Associations:

Dynamic Connections for the Profession Multi-sponsored LEARNING OBJECTIVES: • Know the difference between trade, professional and manufacturing associations • Understand the value of associations to the profession • Understand how to utilize association resources

This month at archrecord.construction.com Building Types Study Find out how healthcare facility design can improve medical outcomes and general well-being. And on the Web, we feature seven additional projects that are not available in print. Sponsored by

Glass • Coatings • Paint

Daily Headlines Get the latest scoop from the world of architecture.

Health Center “GIRONA-3,” Architects: Jaime Coll, Judith Leclerc

Quarterly Interiors

Multimedia Annex

Get an up close and personal look at our Interiors—architects distill a Toronto art gallery from a brick shed, while form finds freedom at New York City firehouses.

In this Web exclusive, not only can you see the winners of the 2005 COTE Green Projects Awards, you can also hear two jury members discuss the reasons these exceptional green designs were chosen. Sponsored by

ALPOLIC Corkin Shopland Gallery, Toronto Photography: © James Dow

connecting people_projects_products

Find us online at www.construction.com

COTE Award Winners, Courtesy AIA

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Super-size Me?

Editorial By Robert Ivy, FAIA

t erupted as a primal scream from a frazzled-looking conventioneer lean-

To scale, add excessive sensory stimulation. In the typical Vegas public

ing against a wall, hair askew, punctuated by a complaint repeated by

interior, we are bombarded with sound, from the ’60s-funky Muzak in the ele-

others in corridors and grand spaces: “Get me out of here!” Not everyone

vators to the accelerating ka-chink of the slots. The air reeks of smoke, or air

felt it; many, if not most, reveled in the mix. Still, some visitors to the rousingly

freshener, or eucalyptus. Oxygen whooshes; lights blink and pop. In the desert,

successful AIA National Convention, which attracted a record number (24,500)

where temperatures can soar above 100 degrees Fahrenheit in May, conditioned

I

to its positive energy, experienced a type of sensory overload and psychological

environments have superseded the open-air strip, permitting a seamless transi-

distress. Their discomfiture bears scrutiny, since the source of their collective angst

tion from internalized plane to car to hotel room. You never need break a sweat.

lies embedded in architecture.

American Pie, except for the way it has come to crystallize certain distinctly

visitor, lose our emotional cool. The occasional human reaction to excessively ful-

American values. The strip has become the urban equivalent of a halftime show

some crowds and sizable spaces has a big name for a real condition—agoraphobia.

at the Super Bowl—big and universally embraced here, but what is it all about?

In its classic sense, the term refers to the fear of open spaces. Related to claustro-

Since the world seems bent on adopting heroic American consumerism, it looks

phobia, it breeds in gigantic enclosures, and includes phobias centered on crowds,

to Las Vegas as much as to Main Street, U.S.A. The massively scaled cities of

shops, and public places; psychologists describe one operable variant as the fear of

China and India, for example, hold the potential for the best of urban life as

shopping malls. Fueled by large milling crowds, it can produce a kind of nameless

well as the worst excesses of contemporary material culture. Will their rein-

panic, exacerbated by hermetic environments such as the typical humongous Las

vented cities ape the big, broad stroke or the fine-grained? Will they prove

Vegas casino/hotel/convention complex, where visible exits to air and sunlight are

life-enhancing or overwhelming? Like it or not, Vegas seems to hold sway in the

remote, few, and hard to find.

collective imagination.

You may have experienced twinges of its effects in high-rise New York,

Meanwhile, the desert city continues to pack ’em in, attracting 38 mil-

or like Bill Murray in the movie Lost in Translation, who was hit with a heavy

lion tourists per annum, 6,000 to 8,000 new residents per month, and billions in

case of ennui awakening in a hotel tower far above Tokyo. Dislocated and out of

construction dollars. The most expensive project yet built there, the sophisticated

sorts, he was literally, hilariously removed from reality and mired in an existen-

new Wynn resort complex, completed in 2004, cost $2.7 billion. The phenomenon

tial dilemma. He, and a few conventioneers in Nevada, suffered distress, if not

is growing: Plans are under way for the MGM Mirage’s Project CityCenter, which

full-blown agoraphobia. Sound familiar?

will exceed any previous construction on the Richter scale, a strip metropolis on

What are the architectural determinants of this mini-paranoia? A priP H OTO G R A P H Y : © A N D R É S O U R O U J O N

We might dismiss Vegas as our beloved aberration, our own neon

The problem, in a word, is Big. It makes some of us, like the distressed

66 acres of prime caliche. Super-size me!

mary cause is scale. Despite the American penchant for the super-sized, not all

The 2005 convention was a hit. People loved the town. But Las Vegas

vastness is benevolent: Gigantism contains traces of bombast and overt manipu-

also teaches us to ask which American dream we are helping to construct, at

lation mixed in with the fun. At mass gathering places, with few retreats for

home and abroad, and whether it will provoke delight or panic. Before you draw

intimacy or personal space, we are literally being herded and told how to feel. In

another line, ask what is the scale? Where is the door? Let me out of here!

hotels with 5,000 rooms and tens of thousands of conventioneers, mega-corridors that extend for hundreds of yards, as high and wide as Mammoth Cave, even those that twist and turn seductively can prove oppressive rather than expansive, stifling human presence and producing dread mixed with awe. Skylights, if placed too high, will not necessarily alleviate the gloom, nor will atria, which can contribute their own oppressive weight.

06.05 Architectural Record

17

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Fruits of pro bono labor Architecture, planning, and design are about serving the greater good, and it is encouraging when this is done in a direct manner that benefits our most underserved communities. I dispute, however, Robert Ivy’s assertion in his May editorial [page 25] that public architecture is “something entirely fresh”; pro bono design has been happening at the local and national level for years. Since the late 1960s, community design centers have been serving an active and activist role in helping community-based organizations create affordable housing, build playgrounds, expand social-service centers, and improve neighborhoods. Many of these centers are associated with universities, building a

culture of community service and participatory design among its students that will carry into their professional careers. Others, like the Community Design Center of Pittsburgh, the Community Design Collaborative in Philadelphia, and the Neighborhood Design Center in Baltimore, mobilize volunteer architects, landscape architects, planners, and other design professionals to provide pro bono services in their local communities. Since 1968, the Neighborhood Design Center has assisted nearly 1,700 projects in the BaltimoreWashington area. Something is in the air. And it is the result of good work and good deeds that for years were underfoot but are now blossoming into view. Further exposure of these projects

and organizations will only encourage such efforts to grow. —Mark Cameron, AIA, ASLA Executive Director Neighborhood Design Center Baltimore In the air and gaining ground Thank you for Robert Ivy’s May editorial. How exciting that he too has noticed the groundswell of enthusiasm for socially conscious architecture. There does indeed seem to be a renaissance occurring, not only in schools but also in the profession at large. This newer crowd seems to be more interested in talking to each other and building a network that can sustain widespread change in the processes and institutions through which we construct and manage the built

Give your light new direction.

environment. Now that ARCHITECTURAL RECORD has begun scratching

the surface, it will hopefully not be long before the profession and public realize how strong this current is and how many accomplishments are being made. Something is indeed in the air, but it is also on the ground in increasing mass. —M. Scott Ball President Association For Community Design Brooklyn A place to call home It was such a pleasure to see Rick Joy’s Desert Nomad House in the April issue [page 146]. As opposed to the preponderance of “clever” houses that flood the journals, Joy’s house demonstrates principle, discipline, an understanding of materials,

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DEPARTMENTS

Letters

Lloyd Wright, et al.—offered both fashion and a practical way to build. —James A. Gresham, FAIA Tucson

Letters and attention to detail. It also emphasizes the house as a place to live in, rather than simply an object to look at—a home. Needless to say, it helps to have a receptive client with a wonderful art collection. —David H. Karp Los Angeles Safe houses they’re not Your latest issue of Record Houses [April 2005] made me wish I were a personal injury attorney! What does it say about the state of architecture when the houses we most admire ignore their purpose of providing a safe environment for their inhabitants? Most of the stairways shown did not even have a handrail. So either the inhabitants will live in mortal danger of falling to their deaths every time they go up and down, or the architect is intending to install a railing after the photographer leaves. If the former is true, then the archi-

tect has abrogated his/her responsibility to make the house safe. If it is the latter, then he/she got lazy about finding a creative solution to a very human problem. My question is, is architecture about people, or is it the other way around? —Paul Sheffield Kailua, Hawaii Architecture à la mode Robert Campbell’s questioning of architecture as metaphor in his April Critique [page 101] aims at the heart of what is troubling about much of current architecture. Fashionable design pursues metaphorical and inflexible form, while the average client is most concerned with flexibility and related issues of practicality and cost. The divergence of vogue from the everyday world threatens architecture’s relevance. The giants of midcentury Modernism—Mies, Corbu, Frank

Better behemoths? At 4,500 square feet, your news item’s “alternative to ‘McMansions’ ” [May 2005, page 56] is too BIG, and its severe Modernist style is just as imposing as anything on the block. It only lacks the multiplicity of roof shapes and vinyl siding featured in its more common neighbors. Can you imagine a neighborhood of these boxes plunked down in Coconut Grove? As for vistas, most developments eliminate those by building as many houses as they can. The only views to be had will be of the neighbor’s new Beemer. Whatever happened to vernacular, context, even the Disneylike new suburban-urbanism that is so popular? Florida has a residential design history that can be charming, satisfying, and even energy efficient. Why not give that a try?

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Build a development of hundreds of these sterile boxes cheek by jowl on dead-level lots in Coconut Grove and see if you can attract enough people willing to watch and be watched while they disport themselves in their pools or slap a steak on the old grill. —Bill Zinner, AIA Via e-mail Corrections A caption in April’s Continuing Education story on high-performing envelopes [page 215] should have identified the building as the Children’s Hospital of Wisconsin, not the Children’s Hospital of Milwaukee. May’s coverage of the Washington Mutual Leadership Center [page 320] misidentified Washington Mutual as an insurance company. In fact, it is a bank. The project cited as Lope de Vega 324 by Volvox in May’s Exhibitions [page 91] is actually Higuera y Sánchez’s 13 de Septiembre multi-unit housing. Write to [email protected]

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Record News

Highlights p. 26 SOM’s Oakland Cathedral breaks ground p. 28 Big Apple developers embrace architecture p. 30 Group organizes prison design boycott p. 33 MVRDV wins first-ever Marcus Prize

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Freedom Tower to be redesigned; serious questions at Ground Zero The rebuilding effort at Ground Zero is facing enormous questions on several fronts, led by the announcement that its centerpiece, the 1,776-foottall Freedom Tower, will have to be redesigned due to security concerns. The news, made public by New York Governor George Pataki on May 4, raises concerns about the office tower project and will likely delay its progress significantly. Meanwhile, construction at the Trade Center has reached a standstill, a major rebuilding official has stepped down, and the wisdom of erecting a large amount commercial space in the area has come under increased scrutiny as a planned office building for Goldman Sachs has been postponed, and 7

expressed concerns in early April about the twisting tower’s safety, centering on the building’s vulnerability to an automobile-related terrorist attack, specifically from adjacent West Street. The building is currently slated for the northwest corner of the World Trade Center site. Skidmore, Owings & Merrill (SOM), the tower’s architects, will now likely have to scrap its old design and begin anew. Pataki noted on May 12 that a new design would be unveiled in late June. Speculation abounds The announcement has set off a maelstrom of speculation and rumors about what could happen to the

Ground Zero in July 2004 (left), and in May 2005 (right). Besides 7 World Trade Center, the site has seen virtually no changes over that time period.

World Trade Center, almost complete, struggles to find tenants. After concluding a meeting with New York Mayor Michael Bloomberg, Freedom Tower developer Larry Silverstein, and various rebuilding officials, Pataki, one of the driving forces behind the 1,776-foot-tall building’s conception, announced that “a new design for the Freedom Tower is required in order to meet the NYPD’s security standards.” The New York Police Department first

tower and its surroundings. The New York Times reported on May 5 that some building officials have speculated that the architects may have to remove the tower’s torquing design in order to decrease the size of its floor plate, hence keeping it farther from the street. Other thoughts include moving the tower farther away from West Street. Ric Bell, FAIA, executive director of AIA New York, posits that the Freedom Tower’s base may be changed from glass to concrete or

titanium, and that Daniel Libeskind’s asymmetrical spire may be removed. Some of the more conspiratorial rumors have included the suggestion that Mayor Bloomberg sabotaged, through the NYPD, Pataki’s effort at Ground Zero because of the governor’s lukewarm support of Bloomberg’s plans for the West Side, or that SOM instigated the redesign to finally rid itself of the influence of tower consultant Daniel Libeskind. SOM officials refused to comment, but Silverstein said in a statement that his team would cooperate fully with the police and the state. It is unknown how long the redesign will delay construction, but given the pace of major projects, it should be a substantial amount of time. Margaret Helfand, FAIA, founder of New York New Visions, a coalition of architects and planners focusing on design at the site, regrets that isolating buildings from the street grid will “further erode the urban fabric.” Little activity The last completed construction on the Trade Center site was finished about a year and a half ago, the temporary PATH station at the site’s northeast corner. On May 3, New York’s Senator Charles Schumer told a meeting, “We are losing steam,” and that a “culture of inertia has infected downtown redevelopment and our city in general.” He warned that additional delays could jeopardize future federal funding, specifically for a possible link between JFK airport and Lower Manhattan. 7 WTC, rising to the north of the PATH station, stands without a major tenant, while Pei Cobb Freed’s

The Freedom Tower (above) will now be rethought.

Goldman Sachs Building, to the northwest, has been put on indefinite hold, with the firm actively looking elsewhere for a site. Many real estate, design, and business leaders have long suggested that the amount of planned office space exceeds demand. Those cries have gotten louder with such tenancy issues. “It’s insane,” says Helfand, about the current plan for at least 10 million square feet of office space on the site. Bell agrees that site programming could be reconsidered, but points out, as have some real estate leaders, that office demand will increase with the completion of transportation infrastructure such as the slated transit hubs by Santiago Calatrava, FAIA, and Nicholas Grimshaw. Rampe out, Pryor and Cahill in Kevin Rampe, who has been president of the Lower Manhattan 06.05 Architectural Record

25

Record News Development Corporation (LMDC)— which oversees development of the Trade Center—since 2003, announced on May 3 that he would leave his post at the end of the month. Rampe, who is leaving to work for Bermuda-based insurance company ACE, says his departure has been long-planned, and has nothing to do with the current developments. LMDC chairman John C. Whitehead

announced on May 12 that Rampe would be replaced by Stefan Pryor, a longtime LMDC staffer. Pryor will report directly to John Cahill, senior policy adviser for Governor Pataki. In a May 12 speech, Pataki noted that Cahill, a seasoned politician, would coordinate efforts of all the parties at Ground Zero, focusing on the prompt delivery of the new Freedom Tower design, and reviving negotiations with

Goldman Sachs. Helfand worries that Cahill, like many involved with decisions at Ground Zero, has little urban-planning or design experience. Rampe feels recent concerns over the site are inflated, and says the Freedom Tower’s new delays represent the Trade Center’s only major obstacle. “Everything else is right on time,” he says. “Overall, I’m surprised by how much progress we’ve made. There are always going to be hiccups with projects of this scale. Many people don’t have the level of understanding to realize that

this is what happens.” In his speech, Pataki, whose political future is tied intimately to developments at Ground Zero, made sure to note that “a new design for the Freedom Tower is not impeding any of our other rebuilding progress.” Bell points out that any critique of the new Freedom Tower or of a possible “bunker” aesthetic at Ground Zero, involving too much opacity and concrete, is premature. “I’m willing to suspend disbelief for a month and wait and see what they come up with.” Sam Lubell

Studio 44’s plan (above) centers on the east wing’s enfilade of rooms.

The State Hermitage Museum in St. Petersburg, Russia, has long tried to articulate a coherent design scheme for expanding its facilities into the

nearby General Staff Building. The proposals, unveiled in Moscow on April 13, may have spelled out the two optimal approaches, but the discrepancies between them could obscure the future design process. In 1989, the Hermitage acquired the east wing of the General Staff, a 19th-century complex designed by Carlo Rossi. It encloses the side of the Palace Square opposite the Hermitage and consists of a sprawling set of rooms and compartments. The Hermitage has designated the new space for its collection of 19thand 20th-century art. Three years ago, Studio 44, a St. Petersburg firm, won an international tender to oversee the

expansion, but Office for Municipal Architecture (OMA), a participant in the competition, was retained as a consultant. The project is estimated to cost $155 million. It is partially funded by the World Bank, the Russian government, and the Hermitage-Guggenheim Foundation. Two distinct proposals went on display at the Museum of Architecture in Moscow. In Studio 44’s plan, the transverse passageways that divide the five courtyards inside the complex are linked into an enfilade of rooms that telescopes through the east wing. Shops, restaurants, and other facilities would occupy the first floor. OMA’s proposal is a calibrated

intrusion rather than an overhaul of the General Staff’s internal structure. A self-contained modern structure would be inserted inside the two internal courtyards, while the scheme (lacking any cohesive renderings) pays tribute to the poetic neglect of the area, trying to enable “a confrontation with art more direct and more authentic than in more ‘modern’ museums.” The plan, which clearly exceeds OMA’s consultant role, sets itself against Studio 44’s design in several parts of its presentation. None of the officials at the exhibition’s press conference revealed how or if the two proposals will be reconciled. Paul Abelsky

SOM’s Oakland Cathedral finally breaks ground After years of uncertainty, the heavens finally aligned for the ground breaking in

altar, maintaining the sense of community

May of the Cathedral of Christ the Light in Oakland, California (rendering, right).

and inclusion dictated by the Second

Craig Hartman, FAIA, of the San Francisco office of Skidmore, Owings & Merrill,

Vatican Council in the 1960s. Additionally,

took over the $131 million project in October 2003 following the withdrawal of

the cathedral’s vaults form a Vesica Pisces

the original architect, Santiago Calatrava, FAIA (whose design featured a pat-

shape—the sacred geometry formed by the

tern of ribbed steel arches), over budget concerns. Further delays ensued when

intersection of two circles—symbolically

the site selected by the Diocese of Oakland could not initially be secured.

highlighting divine descent to earth.

The program for the 100,000-square-foot Cathedral Center—located on

26

The budget has been a challenge in

the northern edge of Lake Merritt in downtown Oakland—includes a main

the cathedral’s development, Hartman acknowledges, requiring the editing of

sanctuary with a seating capacity of 1,500, smaller chapels, a baptistery,

design elements and an ambitious use of technology. The cathedral’s 120-

parish hall, diocese offices, conference center, rectory, library, café, and public

foot-tall main vaults are made from Douglas fir and encased in a ceramic-

plaza, designed by Peter Walker and Partners. Hartman’s scheme was devel-

frit-coated glass skin. The concrete reliquary wall at the base will be textured

oped after extensive research into Catholic ritual, symbol, and architectural

using molds fabricated with computer-controlled milling machines. “The

space. Most crucially, the basketlike building replaces the hierarchical plan of

intent is to use light to ennoble modest materials,” Hartman explains. “It’s

early cathedrals in favor of a circular arrangement of congregants around the

really all about making space that is somehow emotive.” Andrew Blum

Architectural Record 06.05

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Contrasting Hermitage expansion plans could muddy design process

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Record News Big Apple residential developers embracing “signature” architects Park Avenue South, and in Midtown. So why, outside of its worldcapital status, has New York become the next stop on the architects du jour traveling parade? First, it seems that New York developers have discovered that investment in good architecture yields big returns. “Name-brand architecture sells better than your typical vanilla box,” says Peter Slatin, editor and publisher of The Slatin Report, an online, New York–based real estate newsletter (theslatinreport.com). Buyers seem to be gravitating toward what marketers label as “distinctive” designs, which are not only attractive, but exciting—one of the chief reasons many come to the city in the first place. Hence developers, long supportive of safe, bland buildings, have begun to back projects like Gluckman’s One Kenmare Square on the Lower East Side, comprising a series of shifting, curved facade bands that animate the face of the building. Nouvel’s 40 Mercer features glass curtain walls with alternating red and blue panes, as Jean Nouvel’s colorful 40 Mercer project. well as multihued flooring and loft ceilings inside. The ture” designers to build residential undulating, reflective facade of projects in the city. Gwathmey Siegel’s project on Astor The list includes not only Meier Place, while attacked by some critand Gwathmey, but Norman Foster, ics, has been a huge success, Jean Nouvel, Frank Gehry, FAIA, yielding over $2,000 per square Herzog & de Meuron, Arquitectonica, foot, some of the most expensive Michael Graves, FAIA, Steven Holl, real estate in the city. “As soon as AIA, Richard Rogers, Richard this stuff translates into more Gluckman, FAIA, Christian de money for the developer, all of a Portzamparc, and Robert A.M. Stern, sudden design firms become releFAIA. And that’s just the beginning. vant to them,” says Gwathmey Meier has four New York projects, Siegel principal Robert Siegel, FAIA. three on the Hudson River and one He, along with most architects in Brooklyn (no wonder he’s smilworking on projects in New York, say ing). Gwathmey Siegel has six in the that the success of Meier’s projects works: in the East Village, the West (which have nonetheless experiVillage, SoHo, Lower Manhattan, on enced serious delays) have helped 28

Architectural Record 06.05

Rendering of One Kenmare Square’s undulating facade.

developers drop some of their jitters about less “safe” architecture. Of course, the architects would not be in New York if developers did not have the luxury of a hot market and some of the richest clients in the world. Michael Slattery, senior vice president of the Real Estate Board of New York, points out that low interest rates and a wave of popularity spurred by improvements begun in the 1990s have encouraged record numbers to gobble up real estate in the city. One indicator of demand: The median price of a condo property in Manhattan went from $455,000 in 2000 to $640,000 in 2004, according to the board. Spurred also by the success of designer “boutique” hotels, the trend has begun to catch on in cities like Chicago and Los Angeles, as well. But the closest comparisons are Las Vegas, with a plethora of projects on the Strip, and Miami, where Meier and other high-profile architects are working on luxury high-rises. Meanwhile, as developers look

Two of Meier’s Hudson River condos.

for more top-rate architecture, they are also utilizing existing structures, effecting changes at some of the city’s most treasured buildings. Already the Plaza Hotel’s new owners, Elad Properties, are replacing the majority of the legendary building’s rooms with condos. The original Metropolitan Life Insurance Building, a beautiful clocktower structure built in 1909 at One Madison Avenue, was recently sold to SL Green Realty Corporation for close to $1 billion to convert into condos. Richard Lang, public affairs director for the New York Landmarks Conservancy, says that many developers are considering purchasing historic buildings in the city’s Flatiron district. Cass Gilbert’s Austin-Nichols Warehouse on Kent Avenue in Williamsburg, Brooklyn, is also being converted by condo developers. The Real Estate Board’s Slattery argues that “it’s just the nature of the evolution of the city,” and a way for the city to adapt to the changing economy. Lang agrees, and notes that condominium owners often take better care of historic properties than owners who simply rent out space. But he says he mourns the loss of public access to many great buildings, and worries about the status of many historic interiors, which can no longer be landmarked once in private hands. The Plaza’s owners claim they will preserve as much as possible, as do Metropolitan Life’s owners. Exteriors, too, are at risk. “There’s not much you want to change. These are beautiful buildings,” says Michelle LeRoy, vice president of investor relations at SL Green. S.L.

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The New York Times real estate classifieds now feature a smiling picture of Richard Meier, FAIA, advertising his new condominium tower on Charles Street in Greenwich Village. On the same page, there is a large rendering of Gwathmey Siegel’s “Sculpture for Living” high-rise condo building on Astor Place in the East Village, which features “architectural” loft residences. That these architects are at the center of such aggressive marketing campaigns hints at a trend: New York developers are embracing high-quality architecture and hiring an unprecedented number of “signa-

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Prison design boycott aims to slow growth of correctional facilities Protesting what it calls the moral bankruptcy and rampant growth of our nation’s prison system, San Francisco–based Architects/ Designers/Planners for Social Responsibility (ADPSR) has organized a boycott on the design, construction, and renovation of U.S. prisons. The group, which has about 300 members, began the boycott in September 2004 and has signed up just over 300 participants, most of them in the design fields (not all members of ADPSR). The group’s president, Raphael Sperry, an architect at 450 Architects in San Francisco, says participants can help voice disapproval of the prison system’s treatment of inmates, and its inherent racial and social inequalities. But he points out that the effort is meant most of all to help stem the incredible growth of prisons in the U.S. Sperry claims prison populations

have grown almost sevenfold in the past 30 years, while he estimates that at least half the prisons in this country were built during that time. Sperry says he doubts the boycott will quickly halt the creation of new prisons, noting that if architects stop work, then prisons could enlist engineers to construct them. But if the boycott takes hold, he says, the lack of new prisons will force officials to enact prison reform “instead of using prisons as a one-size-fits-all solution to social problems.” He adds, “If we keep increasing the number of prisons, we’ll never be able to deal with the real problems that lead to crime.” He is quick to point out that the goal of the boycott is not, however, to let dangerous criminals out of jail. Whether the boycott succeeds or not, Sperry, who emphasizes that he doesn’t blame architects for pris-

Canada welcomes major museum projects Largely because of government spending priorities and low levels of philanthropic giving, decades can pass in Canada without the prospect of any new national museums. Yet as luck would have it, within three weeks this spring, New Mexico architect Antoine Predock won a competition to design the Canadian Museum of Human Rights in Winnipeg, Manitoba, and the new Canadian War Museum, designed by Moriyama & Teshima

Architects, opened in Ottawa. Predock’s design, unveiled on April 15, will be set on a massive Tyndall limestone bed, rising 300 feet like a glass-enclosed rock formation, topped by a crystalline tower. The hard effect will be softened by local tall-grass plantings, trees, and a central plaza illuminated by electronic information-display panels. The museum is expected to cost nearly $240 million.

Predock’s Museum of Human Rights will be topped by a crystalline tower. 30

Architectural Record 06.05

Are prisons becoming too plentiful?

ons’ problems (he notes most are trying to improve conditions but are part of a flawed system), is confident that the voice of architects could slowly begin to sway public opinion against the system and the proliferation of prisons. “If we want to realize our vision for what the built environment should be like, we need to take leadership,” he says. Edward Spooner, chairman of the AIA’s Academy of Architecture for Justice, says that while he admires Sperry’s desire to take a stand on prison issues, he calls the

boycott a “disservice.” “To abandon our clients and not build new facilities will have a disastrous effect on individuals who are inside,” he says, noting that fixing the system’s problems is a better idea than walking out on it. “If I were to advocate something, I’d advocate building facilities that deal more effectively with the issues that the prison population is in the facility for.” This includes a stronger focus on education, vocational training, and treatment services. Spooner, who questions Sperry’s figures (noting that prisonpopulation increases keep up with overall population increases), adds that those involved with prison design and the prison system itself are doing everything they can to remedy problems. “This is a group of people with real understanding of the problems of prisons, and a sincere desire to do the best job they can. I don’t think that the best job they can do would be to let all these people out on the street.” S.L.

ventional architectural landscape of Manitoba’s provincial capital. Halfway across the country, the 440,000square-foot Canadian War Museum in Ottawa opened on May 8. It too tells a story—of Canada’s The Canadian War Museum’s copper walls. military history and the implements of war, recalling lives sacrificed in battle. Predock describes his design Moriyama & Teshima as “a tower of hope” and a “beacon Architects, Toronto, were joined by for humanity.” His design was also Griffiths Rankin Cook Architects, a beacon for the review committee, Ottawa, in the design of the $104 which chose Predock over two million, low-profile museum. It rises Montreal finalists, and from an about 75 feet above the nearby original pool of 62 firms. New York Ottawa River and features sloping museum planner Ralph Appelbaum glass walls and a copper-clad roof. will design exhibits, highlighting The museum emphasizes sustainthe global sweep of human rights ability, using river water for cooling, struggles, including the creation of concrete made with recycled fly ash, Canada’s Charter of Rights. When low-maintenance roof grasses, operthe museum opens in three or four able windows, and energy-efficient years, it is bound to be the most HVAC systems. Albert Warson dazzling piece in the otherwise con-

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Record News

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Record News After 20 years, Chattanooga finishes riverfront development

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Nearly 20 years after initiating a master-planning process with Cambridge-based Hargreaves Associates, the City of Chattanooga, Tennessee, is completing its waterfront redevelopment. Culminating in a three-year push by Mayor Bob Corker, the final stage includes expansion of the Hunter Museum of American Art by Randall Stout Architects; an expansion of the Tennessee Aquarium by Chermayeff, Sollogub & Poole; a series of public-art projects; the redesign of a state highway into a pedestrian-friendly parkway; and the addition of housing and retail. “We’ve built on our greatest resources, which are our outdoor amenities and our natural topography,” says Todd Womack, communications director for the mayor’s office.

The redevelopment has helped transform central Chattanooga from an after-hours ghost town into a vibrant district, but only after some communitywide soul-searching. The city of just over 150,000 realized that its compact size and setting could make it unique, and now it is held up for its progressive planning and walkability. “We realized that we weren’t going to be a Nashville or an Atlanta,” says Womack. The 129-acre waterfront redevelopment cost approximately $120 million, almost all of which was raised privately. Stout’s just-opened 28,000-square-foot addition to the Hunter Museum is the most architecturally adventurous piece of the redevelopment, with a curvilinear roofline and cliff-hugging form that contrasts with the symmetry of the museum’s original A bridge to the Hunter Museum of American Art Beaux-Arts mansion building, perched (below), with the recent expansion visible at the left. above the riverfront. The addition to the Tennessee aquarium, by Chermayeff, Sollogub & Poole, is more restrained, while modern riverfront parks, designed by Hargreaves, add new green spaces, a pier, better shorelines, and revamped streetscapes. The entire redevelopment strategy relies more on good urban design than on iconic architecture. “We’re building a city, not just a bunch of parks,” says Womack. Alan G. Brake

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MVRDV wins first-ever Marcus Prize Rotterdam-based MVRDV has been selected as the first winner of the Marcus Prize, a biannual award for emerging architects

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established by Milwaukee’s Marcus Corporation Foundation. The firm will receive $50,000, and an additional $50,000 will go to the University of Wisconsin-Milwaukee (UWM) School of Architecture and Urban Planning to administer the prize. Firm architects will act as guest critics at the school in spring 2006. MVRDV was among 22 nominees from nine countries. “We really were looking for a person or group that was on a trajectory to greatness,” says Bob Greenstreet, who is dean of the school and city planner of Milwaukee. He helped organize the award. Founded in 1991 by Winy Maas, Jacob van Rijs, and Nathalie de Vries, MVRDV’s work explores

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the relationship of density and place, especially in unique urban sites. Projects include the Dutch Pavilion for the World Exhibition 2000, and the Silodam housing complex, a multicolored cluster of buildings raised on stilts above Amsterdam’s IJ River. MVRDV was a finalist for the New York City 2012 Olympic Village and the BBC headquarters in London. “The sites that MVRDV has dealt with in

Call for Entries

postindustrial cities with waterfronts are very similar to locations in Milwaukee,” says Greenstreet, who hopes the firm will engage with his city’s building community. The Marcus Corporation Foundation is the philanthropic arm of The Marcus Corporation, which owns and operates movie theaters, resorts, and hotels throughout the U.S. John E. Czarnecki, Assoc. AIA

©2005, USG Corporation

Record News AIA recognizes top green projects Wellington Quigley, FAIA. The committee also awarded a special commendation to the Lloyd Crossing Sustainable Urban Design Plan in Portland, Oregon, by Mithun Architects + Designers + Planners. Selections reflect an expansive definition of environmental responsibility, including issues of

LZT’s Austin Resource Center for the Homeless.

equality and social responsibility, according to COTE chair Vivian Loftness, professor of architecture at Carnegie Mellon University. Among individual details, the jury appreciated LZT Architects’ use of a water-storage tank as a sunshade for the Austin homeless shelter and Davis Gardner Gannon Pope and Bruce Lindsey’s recycling of waste heat in the Pittsburgh Glass Center. Ted Smalley Bowen

Critics say National Trust helped doom St. Louis building Critics of the National Trust for Historic Preservation independent landmarks advocacy organization, consay it supported the demolition of St. Louis’s 108tends that, through that credit, the trust essentially year-old Century Building in order to save the city’s funded the Century Building’s demolition. It filed Old Post Office Building. The Century, located four lawsuits against the project before the Century across the street, was torn Building demolition proceeded. down to make room for a park“We were stunned and disaping garage in February. pointed. The [trust] abdicated The 10-story, marble-clad its role in preservation and Century was promoted as sound planning,” says Carolyn “the only marble office buildHewes Toft, Hon. AIA, execuing in the West” when built in tive director of the association. 1896. In addition to offices, But the trust says it only the Beaux-Arts structure helped fund the $45 million also contained a 1600-seat post office project. Before The Century before the wrecking ball. theater. The Old Post Office, a demolition of the Century, National Historic Landmark Richard Moe, president of the that dates to the 1880s, had for years been trust, said, “Demolition of the Century would be considered for major renovation. After reviewing an unfortunate but necessary trade-off for the parking options, the post office’s tenants and long-term benefit of the Old Post Office and its developers fixed on the Century Building site. In neighborhood.” The Interior Department’s desig2002, the National Trust Community Investment nation of the Century to the National Register of Corporation, a for-profit subsidiary of the trust, Historic Places in October 2002 was not enough allocated an $8.7 million tax credit to the project. to stop demolition, and the parking structure is The Landmarks Association of St. Louis, an soon to be completed. J.E.C. CIRCLE 20 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/

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The AIA’s annual contribution to Earth Day extended traditional categories, as the organization’s Committee on the Environment (COTE) honored eight green building projects and for the first time recognized an urban plan. The institutional, residential, and civic projects address a broad range of environmental and social conditions without compromising on design, according to jury members. The 2005 winners are the Eastern Sierra Residence in Gardnerville, Nevada, by Arkin Tilt Architects; the Barn at Fallingwater in Mill Run, Pennsylvania, by Bohlin Cywinski Jackson; Rinker Hall at the University of Florida in Gainesville, by Croxton Collaborative and Gould Evans; the Pittsburgh Glass Center, by Davis Gardner Gannon Pope Architecture and Bruce Lindsey; the Austin Resource Center for the Homeless in Texas, by LZT Architects; the Evergreen State College Seminar II building in Olympia, Washington, by Mahlum Architects; Sarah Lawrence College’s Monika A. and Charles A. Heimbold, Jr., Visual Arts Center in Bronxville, New York, by Polshek Partnership Architects; and the Leslie Shao-ming Sun Field Station in Woodside, California, by Rob

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Debate over foreign architects’ roles in China intensifies With the foundations being laid for being too melodramatic for a city long long-awaited Chinese projects such known for its tranquil spaces and as OMA (Office for Metropolitan rectilinearity. The most disapproval, Architecture)’s CCTV headquarters, however, is reserved for Andreu’s and with projects like Paul Andreu’s Opera House, a simple, curved podGrand National Theater like form often accused in Beijing reaching comof breaking from the pletion, the ongoing disciplined order of its debate about the role of neighboring elements. foreign architects in the “For Tiananmen Square, country has come into at that place, [buildings] sharper focus. should really be Chinese,” Chinese academics comments Shao Fan, a and architects have in rising Chinese designer. recent years criticized the Yet the foreign eagerness of their counphenomenon is trymen to hire Western inevitable, says Yung architects—which, like Ho Chang, arguably OMA, are establishing Mainland China’s most Chinese offices at an celebrated architect, increased pace—noting who notes that the SOM’s planned Jinao that most foreign projglobalization of archiTower in Nanjing. ects lack deference to tecture is happening the Chinese vernacular everywhere, not just in and are designed by architects with China. Chang himself is now worklittle connection to China. The outcry ing in South Korea and Japan. seems to have also sparked a sense Moreover, many agree that of nationalism and insecurity. China does not have the resources “[Chinese architects] suddenly to satisfy the demand for immense, see that their knowledge and archiinnovative designs. “At the moment, tectural language, which they have the cutting edge is overseas,” says inherited from their teachers and Hong Kong’s Rocco Yim, architect of ancestors, isn’t being put into use, the recently unveiled Guangdong and their role becomes subordinate,” Museum. Whether that will leave a Ming Lu Gao, one of the 2004 Beijing positive imprint on China’s tradiBiennial’s organizers, recently told tional urban character (which Chang China Daily, the state newspaper. notes is quickly fading in the growWeiping Shao, chief architect of the ing shadow of glass and steel) is an Beijing Institute of Architecture and open question, he says. Adds OMA Design, notes, “Some local architects partner Ole Scheeren, “[China] is think [foreigners] bring good ideas to making enormous steps, and the China and benefit the Chinese archinatural situation is to look to the outtectural market. But before, we had side for help.” Daniel Elsea all the projects, and now we must share them.” Some of the most frequent complaints center on the projects now coming to fruition. Peigen Peng, professor of architecture at Beijing’s Tsinghua University, has critiHerzog & de Meuron’s Olympic Stadium plan. cized CCTV headquarters as

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If the overflow crowd that showed was so soon forgotten. Scully began up for the Eero Saarinen symposium by admitting the “derisive comat the Yale School of Architecture in ments” he had made at the time. early April is any indication, the “In the 1950s, when Saarinen, roller-coaster ride of Saarinen’s Louis Kahn, Philip Johnson, and reputation is on the way up again. Paul Rudolph were dramatically Though he was “the acknowledged redefining the strategies of modern leader of the first generation of architecture, I earnestly thought American Modernists,” as the archithat what was important was the tectural historian Vincent Scully direction Kahn, and later Robert said in his keynote address, as few Venturi, were taking. But today, a as 10 years after Saarinen’s sudden generation of architects liberated death in 1961 he was rarely menby the computer find Eero’s work tioned in the press or academia. compelling. Eero is clearly much “Many of us never studied more complex, more directly Saarinen’s buildings in school,” concerned with human use and meaning than I thought he was.” explained Yale professor Eeva-Liisa Pelkonen, who organized the He added, “I can neither defend symposium. The event was sparked nor deny my remarks some 30 by a gift from the successor firm, years ago, but I still feel a twinge Kevin Roche John Dinkeloo and of guilt.” Associates, of 500 rolls of drawings and 100 boxes of miscellaneous material to the Yale University Library Department of Manuscripts and Archives. The newly available archive has encouraged a series of research projects, which were previewed at the symposium. They will be Saarinen’s TWA Terminal at JFK airport. featured in an exhibition called Eero Saarinen: Architect Greg Lynn further Realizing an American Utopia explained why interest in Saarinen opening at the Museum of Finnish has resurfaced. Showing pictures of Architecture in Helsinki next year. Saarinen’s buildings paired with Donald Albrecht, who is curatthose of Asymptote, Foreign Office ing the exhibition, talked about Architects, and Ben van Berkel, he some of Saarinen’s many highexplained, “The problems [Saarinen profile clients. Several graced the investigated] don’t have to do with cover of Time magazine, including computers. They have to do with calGM president Harlow Curtice, culus and drawing with curves. Eero Yale president A. Whitney Griswold, was trying to fuse things.” Lynn also IBM chairman Thomas Watson, Jr., showed why the gift of the archive CBS president Frank Stanton, and was important, noting that when he the former head of the FAA, Najeeb had gone to see the buildings in his Halaby, who was the client for youth, he couldn’t see the drawings Dulles Airport. or models that would explain how Scully’s keynote address, in they were built. Jayne Merkel turn, helped explain why Saarinen

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Record News On the Boards Ambitious new tennis complex for Shanghai The Association of Tennis Professionals (ATP), tennis’s governing body, has announced that the Qi Zhong Stadium (right), the first phase of a new $200 million tennis facility in Shanghai, will be completed in September. When the second phase of the project is concluded in 2006, the Qi Zhong Tennis Center will be bigger than Melbourne Park, currently the largest tennis facility in the Asia Pacific region. The main tennis stadium, with a capacity for 15,000 spectators, will feature a unique retractable roof soaring 130 feet high in the shape of an eight-piece magnolia. Each of the eight pieces of the roof will rotate when it opens, so that from above, it resembles petals on a symmetrical flower.

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The project is being designed and built by a Chinese team, including the Xian Dai Architectural Design Company, the China Construction Third Bureau, Jiangnan Heavy Industry Company, and the Shanghai Mechanical Construction Company, which is responsible for the roof. Located about 18 miles southwest of Shanghai, the 80-acre facility will host the Tennis Masters Cup for three years, starting with the November 2005 tournament. In addition to the main stadium, the facility will feature 40 indoor and outdoor courts, including a smaller, 8,000-seat stadium. Jen Lin-Liu

Updated film museum will be fit for projection

I M A G E S : C O U R T E SY A S S O C I AT I O N O F T E N N I S P R O F E S S I O N A L S ( TO P ) ; M U S E U M O F T H E M O V I N G I M A G E ( B OT TO M )

The Museum of the Moving Image in Astoria, Queens, recently unveiled plans for an expansion and renovation (below) by Brooklynbased Leeser Architecture. The

project will nearly double the museum’s current size, to 96,000 square feet, including new screening areas, an outdoor amphitheater, new galleries and storage, and new entrance and circulation spaces. Virtually every surface in the addition will include moving images. Screens covering the elevators will simulcast pictures of museum occupants. The exterior will be clad by a

thin metal scrim, providing another projection surface and blocking light into the galleries and theaters. Interior volumes, also set as screening spaces, will be formed by taking a continuous white plane, which architect Thomas Leeser likens to a film strip, and folding it up or down. Many spaces will perform varied functions. Ramped galleries will serve as theaters and as vertical circulation areas, and a large multipurpose space will act as a lunchroom for school children and as a formal reception room. Erected in 1920, the museum’s building was once part of Paramount Pictures’ studio system. Gwathmey Siegel redesigned the space when the museum opened in 1988. Construction on the $25 million expansion will begin this summer and last until 2008. James Murdock

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AIDS Memorial Grove getting new element The simple title “Living Memorial” belies the disturbing yet elegant landscape element for the National AIDS Memorial Grove in

AIDS’s devastation, a swath of the Grove will be lined by a fire-blackened wooden berm and occupied by a field of 24-foot-high black-carbonfiber rods. Visitors can view the piece from a charred wooden platform, while benches made of wood recovered from forest fires provide repose. The rods, mirrored at their tips to reflect the sun, “serve as reminders of how many people have lost someone,” explains Town. Lisa Findley

Carbon-fiber rods will line the Grove.

Libeskind’s Sacramento building likened to Freedom Tower A new condominium tower in Sacramento, California, promises to add a distinct, but perhaps vaguely familiar, signature to the city skyline. The 37-floor Aura, designed by Daniel Libeskind, has received criticism because of the sloping-roofed building’s similarities to Libeskind’s original tower designs for the World

San Francisco’s Golden Gate Park. Submitted by New York–based architects Janette Kim and Chloe Town, the winning project, chosen from more than 200 entries, sets up a jarring counterpoint to the lush green swale of the Grove, whose development has been ongoing since 1991. Evoking forest fires to underscore

D.C. Sports and Entertainment Trade Center site. Yama Karim, projCommission chose HOK Sport, ect architect, explains that any similar the lowest bidder by $4 million. traits are driven by site conditions. Some claim that the selection All would be tall, slender towers that process, which did not minimize shadows, include design presenallowing for maximum tations, was driven sunlight and views. primarily by Major Karim notes that Aura is League Baseball’s desire constructed of concrete to ensure that a welland glass (Libeskind’s functioning stadium towers were steel and opens in 2008, within a glass), while the facades, $535 million budget. reflecting different HOK Sport, designer of uses—Aura, for instance 10 of the last 14 Major will have residential balLeague stadiums, was conies—are completely favored from the start. unalike. “The choice was Karim says that Too reminiscent of the made on expertise,” Aura will later be joined Freedom Tower? says Joe Spear, AIA, by two larger, much difHOK Sport principal. He ferent towers. Allison says he has “no specific design ideas Milionis yet,” but will collaborate with local architects Devereaux & Purnell and HOK designing new city officials to find the best solutions. Washington, D.C., baseball The commission, he says, “wants park HOK Sport of Kansas City, Missouri, has been chosen to design something different from everything we’ve done in the past. They think a stadium for the new Washington, the stadium should be a Washington D.C., Nationals. On March 31, the

I M A G E S : C O U R T E SY J A N E T T E K I M A N D C H LO E TO W N ( L E F T ) ; S T U D I O DA N I E L L I B E S K I N D ( R I G H T )

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icon.” Andrea Oppenheimer Dean Scholarship fund will help cover registration costs To help individuals cover the $981 cost of taking the Architect Registration Exam (ARE), the National Associates Committee of the AIA has established the Jason Pettigrew Memorial ARE Scholarship Fund. The scholarship is named in honor of Jason Pettigrew, Assoc. AIA, of Colorado, who was a member of the initial National Associates Committee in 2001. Pettigrew died last July at age 29 in a mountain-climbing accident. He was working for Denver’s SlaterPaull Architects and was in the process of taking the ARE at the time of his death. Contributions are now being accepted to build the fund’s initial endowment. The AIA’s goal is to provide at least one scholarship annually from the endowment. J.E.C. Contest lampoons Walker Art Center Poking fun at Herzog & de Meuron’s just-opened Walker Art Center expansion, Minneapolis under-

ground newspaper Citypages and its Web site, citypages.com, recently hosted a contest called “What the Hell Does the Walker Look Like?” The competition challenged readers to draw sketches of what the muchpraised but odd-looking museum resembles. Top prizes, awarded by the Walker itself, included dinner at the museum’s restaurant and gallery passes. Entries depicted the Walker as Elvis, Darth Vader, a Transformer, a climbing wall, and a lunchbox, to name a few. “It’s a really rich arts community,” says Corey Anderson, online managing editor at citypages.com, who organized the contest. “I couldn’t wait to see what people cooked up.” S.L.

Walker contest entries depict the museum as Darth Vader (above) and a Transformer (right).

Four partners leave Chong Partners Four senior partners at one of San Francisco’s largest and most respected firms, Chong Partners Architecture, are leaving to form their own practice. The firm, founded by former AIA president Gordon H. Chong, AIA, is well-known for its health-care and education work. Former partners Jeff Warner, John Ruffo, Sam Nunes, and Bryan Shiles, after trying for years to come to an agreement with Chong over a transition plan for the firm, launched their new practice, WRNS Studio, in early May. Chong Partners, founded in 1978, continues with 180 employees, 65 of them architects. L.F. Quilt center in the works Robert A.M. Stern Architects is designing the International Quilt Study Center for the University of Nebraska. The unique museum, which will sit within a

Stern’s planned Quilt Study Center.

fabric-inspired pattern of pavers, will be made of limestone and have a bowed-glazed facade composed of glass panels “stitched together” to create a quilting pattern. Opening is scheduled for fall 2007. S.L. ENDNOTES • Norman Kurtz, chairman of the engineering firm Flack + Kurtz, died on May 13 at the age of 69. • Office For Metropolitan Architecture (OMA) and Gruen Associates have been selected to design the California Institute of Technology’s new Walter and Leonore Annenberg Center for Information Sciences and Technology in Pasadena. • David Thorman, AIA, has been named California State Architect.

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For and about the emerging architect

archrecord2

Design

Bobco Metals, Los Angeles, 2003

A firm called null explores the unknown The founders of Los Angeles–based null.lab, Arshia and Reza (left and far left—and yes, they go only by their first names), adopted the firm’s name because it’s both specific and vague—in other words, IMAGES: COURTESY NULL .L AB (PORTRAITS AND BOT TOM); © BENNY CHAN/L .A. FOTOWORKS ( TOP T WO)

DEPARTMENTS

In Los Angeles, even the weather can seem stage-managed—so it’s no surprise that the creative community flourishes there, whether because of or in spite of this. Architects in the City of Angels have always prided themselves on challenging norms, and the firm we profile in Design, null.lab, is no dif ferent. We jet of f to Denmark in Work to see what happens when young artists from cities as far-flung as Beijing and Brussels are given a hotel to redesign.

slightly dysfunctional. “A lab is obviously a place of experi-

At this downtown fabrication shop, null.lab used bent and folded metal surfaces that seem to explode in shards from fixed points—like the violence that has plagued downtown L.A. The project won a 2004 Honor Award from AIA Los Angeles.

mentation, where the process is valued as much as the result,” says Arshia. The concept of null, he adds, indicates not so much “nothing” as the unknown. Perhaps that hints at the undefined territory he and Reza explore when they begin each project, but that’s one of many possible interpretations. They’d prefer to let us draw our own inferences. This open-ended approach is reflected in their design philosophy, which could bear the tagline “Against Functionalism.” Arshia says, “In architecture there’s a bias about the way space is used—that use should be predetermined by function or form or program. We want to defunctionalize architecture in this way. We’d prefer that people engage with our projects like natural spaces—to be able to pick out where they’re most comfortable doing various things, whether it’s sitting or working or reading, as they would in a park.” Reza also cites natural systems as a model. “We want to design in the same manner that nature

Sunset Landmark Building,

generates life—DNA, for instance, has the same structure but

West Hollywood, 2005

results in very different-looking organisms. We’re interested in

null.lab is designing a 1,200square-foot interactive LED installation at a prominent site next to the House of Blues on Sunset Strip. The project would commemorate the 20th anniversary of the establishment of West Hollywood as a city independent of Los Angeles.

creating complex spaces generated by simple, straightforward rules.” They think of themselves as makers of space rather than architects, a term they find too restrictive; both have dabbled in—and are fascinated by—film and new media. The partners knew each other for several years before forming null.lab in 2002. Both were born in Iran. Arshia, who lived in Baltimore briefly as a child in the 1970s, studied architecture at Shahid Beheshti University in Tehran and practiced there afterward, designing commercial and residential projects and winning awards for both built and unbuilt work. Reza, whose family

06.05 Architectural Record

47

archrecord.construction.com/archrecord2/ Ministry of Petroleum

moved to Columbus, Ohio, when he was 10,

Headquarters, Tehran, Iran,

earned his degree at SCI-Arc in 1991 and spent

competition entry, 2002

much of the next decade working for a who’s-who

The ministry hosted a competition for a monumental building. Arshia and Reza imagined a complex system of spaces for meetings, conferences, and offices. The headquarters was never built.

list of Los Angeles architects: Frank Gehry, Thom Mayne, Eric Owen Moss. He and Arshia met in Tehran in the mid-1990s, where Arshia was working for Shirdel/Kipnis as a project architect for the Tehran International Airport, and Reza was employed briefly as a form-maker. When Arshia moved to Los Angeles in 1997, they reconnected, even working together a few times for Michele Saee and others. Now they work side by side at a few makeshift, poorly lit work tables in a huge, raw loft space near SCI-Arc, which seems more 1970s SoHo than City of Angels. Though Arshia and Reza describe null.lab as a nontraditional firm, that doesn’t seem to be scaring away clients. In fact, their projects downtown and 15th Street Lof ts,

on Sunset Strip involve some of L.A.’s top developers and planners. If the recent

Los Angeles, 2005

honor award from AIA Los Angeles for Bobco Metals (see previous page) is any

Developer Western Imperial tapped null.lab to create 99 loft-style apartments in a 1920s brick building downtown. The architects are transforming the facade with active signage and perforated metal.

indication, null.lab seems poised to become a stalwart of an emerging generation of avant-garde designers in a city that has always attracted iconoclasts. The unknown, after all, holds infinite possibilities. Deborah Snoonian, P.E. For more photos and projects by null.lab, go to architecturalrecord.com/archrecord2

Work Rooms serviced: artists redesign a nondescript hotel Thanks to a clever publicity campaign by automotive giant Volkswagen, design-conscious travelers now have an artful place to stay in the heart of Copenhagen. As part of a promotional scheme entitled “Project Fox” for the new VW Fox vehicle, the company invited 21 young artists from around the globe to make over the Danish chain by the same name. Given four months to complete what was dubbed “Hotel Fox,” the group of illustrators, graphic designers, and artists responded enthusiastically, changing the furniture, carpets, and wallpaper in 61 rooms to suit their fancy. The result is as varied as their creators’ backgrounds. One room resembles the interior of a log cabin in the hills of Switzerland; another is stark and spare, with letters that seem typed onto the walls; a third boasts a lush textile backdrop replete with fanciful woodland creatures. Volkswagen officials say they launched the campaign in early 2005 both to promote the VW Fox and to showcase emerging talent in a variety of creative fields (the company also sponsored events for rising-star chefs and hotel managers). After a three-week media frenzy at the Hotel Fox in Copenhagen, the journalists and artists have all gone home—but happily, anyone can now stay in the redesigned rooms. Randi Greenberg See more redesigned rooms at the Hotel Fox by visiting archrecord.construction.com/archrecord2/

48

Architectural Record 06.05

Examples of the 61 unique rooms at Hotel Fox, which were redesigned by an international group of young artists (clockwise from above): Kinpro/Japan; Antoine et Manuel/France; Speto/Brazil; Friends With You/USA.

I M A G E S : C O U R T E SY N U L L . L A B ( TO P T W O ) ; P R O J E CT FOX ( B OT TO M FO U R )

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Architecture as symbol generates a hot debate among our critics

Critique By Michael Sorkin

P H OTO G R A P H Y : © R O L A N D H A L B E

Dear Bob, I’ve just returned from a weekend at MIT, my first extended visit in years: had a good look around, saw new buildings, met old colleagues. I also happened to read your column while I was there, and I couldn’t disagree with you more. To begin with, why this anxiety with the idea of the metaphorical or, more properly, symbolic role of architecture? Do you really believe that architecture should be purged of directed meanings? Do you think that Chartres Cathedral makes a mistake in its heavenward aspiration and iconographic encrustation? Do you wish that the Einstein Tower were just a little more generic? That Legal Seafood should leave portholes alone? Indeed, do you really think that the domes, stairs, and Classical columns of Welles Bosworth’s designs for MIT are simply a neutral “brown” wrapper because they’re a bit more butch than the Pantheon? Clearly, you don’t. You describe this architecture as “denotative” of the “commonality of the present and the past,” and, presumably, of strength and tradition, civic conseContributing editor Michael Sorkin is the director of the urban design program at the City College of New York.

quence, ruling-class solidarity, and deep roots in the Western canon. Your cavil seems to be not with the idea of symbolic content, but with the expressive particulars of those new buildings, their message. But why shouldn’t MIT—the virtual Vatican of ingenuity—seek to express itself through works of architecture that are themselves formally and technically ingenious? Reading between the lines, I suspect the issue might grow from a fantasy of the apt modesty of the technical mind and its disdain for flamboyance. We like our scientists with chalk on their pants and elbows poking through their sleeves. Many liked the tumbledown, temporary Building 20, a wooden barracks dating from the Second World War, better than its expensive and formally elaborate successor [Gehry’s Stata Center], just as most of us prefer the studiously casual uniforms of the American general staff of the same era to the dragqueen outfits of the Germans. Aspirational architecture In fact, both styles are rich in meaning—equally, if dissimilarly, connotative of attitudes to hierarchy, tradition, and warfare—distilling the difference between Germanic Soldatentum and what had been our own reluctance to militarize (talk about nostalgia!). One might question either message, but not their mechanism: Taste can be bad, but not wrong, certainly not in terms of a logical category like fallacy. Chuck Vest, who was president of MIT when you quoted him, was certainly within bounds to express his hopes

DEPARTMENTS

Editor’s note: In his most recent Critique [RECORD, April 2005, page 101], Robert Campbell criticized former MIT president Chuck Vest for saying that buildings at the school “should stand as a metaphor for the ingenuity at work inside them.” Michael Sorkin responds.

Frank Gehry designed the Stata Center corridors as interior streets.

for the university he directed in aspirational terms: His call for ingenious architecture was surely just another way of describing a desire for “great” buildings on campus. True, symbolism can be craven and dopey, and there are plenty of instances of poor and misleading translations of meaning into architecture. The Dr. Evil pinkie sticking up from the Freedom Tower to evoke a huge but expressively shriveled Statue of Liberty. The green roof on the Ford Rouge plant, a good idea

transformed into a monument to craven hypocrisy and camouflage for the environmentally nefarious product being produced underneath it. And yes, we do seem to prefer the billowy, choose-your-own-metaphor abstraction of Gehry’s undulating period to more literal ducks. But hey, de gustibus! I think you most misread the new buildings not in iconic but in performative terms. You favorably contrast the original MIT complex with the new additions by calling it “corridor positive.” This is 06.50 Architectural Record

51

a nice observation, one that foregrounds the importance of the network to the meaning of the campus. But both Stata and [Steven Holl’s] Simmons Hall are extremely corridor positive, each making a serious effort to expand the meaning and content of the corridor. This is something of a tradition at MIT, where Aalto’s Baker House—the greatest building on campus, indeed in Cambridge—offers that glorious straight-run stair, a rising corridor that functions as a social condenser and a sublime means of ascent. The same effort to extend the corridor to a role beyond horizontal circulation is clear at Simmons in places where the “corridor” ascends through those troglodyte multistory common spaces, allowing residents to overcome the limits of floor-based affinities by producing a more threedimensional space of interaction (and the kids love it!). Stata is structured

around a complex interior street, extending the idea of the corridor to embrace a variety of forms and functions and initiating a complex (but surprisingly clear) system of circulation. This produces a more irregular, “medieval” pattern with a capacity to generate spaces of accident and encounter, substantially exceeding the grid scheme of the Bosworth buildings. While the old buildings provide a wonderful network of flows, the uniformity of their section yields little opportunity for repose. Your remark that most people prefer loft spaces to “audacious metaphors” suggests that flexibility grows from generality, from providing a setup for the “equipotentiality” of subdivision. But flexibility can also be the outcome of assembly, and this is surely the message of both the larger aggregation of the MIT campus and the collage that underlies the elegant plan and complex section of Stata.

At Simmons Hall, Steven Holl tried to expand the meaning of the corridor.

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